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Religia i ateizm w filozofii średniowiecznej

100%

Szocik K.

Studia Philosophiae Christianae

2010

tom 46

nr 2

208-218

Medieval Philosophy was shaped by Christian doctrine. The convictions of the existence of God and its influence on the world were not challenged. Atheism, understood as a philosophical vision of the world which denies a possibility of the existence of Christian God i.e. personal and transcendent being, appeared in the Modern Age. However we can indicate at least two thinkers whose systems were in conflict with Christian thought. David of Dinant and Amalric of Bene preached pantheistic views, identifying God with the fullness of reality. Thus they anticipated the modern, initiated by Spinoza, return to the Stoic philosophy of pantheism.

Filozofia Leibniza i panteizm

100%

Spryszak P.

Kwartalnik Filozoficzny

2013

tom 41

nr 1

61 - 75

In this paper I briefly examine the idea that a certain moderate version of pantheism (hence, strictly speaking, of panentheism) can be both formulated and maintained within Leibniz’s mature philosophical system. I argue that this pan(en)theistic programme fails, however, because it violates his non-negotiable principles concerning God, creation, and created substances.

SYMBOLISM AND POETIC CREATION OF EDVARTS VIRZA

100%

Tesarova J.

Slovak Review. A Review of World Literature Research

2006

tom 15

nr 1

1-10

The authoress is concerned with the works of the great Latvian poet Edvarts Virza, and she concentrates on his poetic collection 'Bikeris' (The Cup), which is a genuine and at the same time the only piece of work representing Latvian symbolism in 'clear' form. Edvarts Virza subordinates a human life to the natural vegetation cycle and he integrates it into the higher structure of a natural cycle; it is the result of Virza's pantheism (pantheistic teaching), which identifies God with a nature and understands nature as a creative nature (natura naturans), not as a nature created (natura naturata). The model of the relations between man and nature Virza encoded into the symbols of a garden, flower, and cup. In accordance with the poetics of the symbolism these symbols are multi-positioned; they have several levels and surfaces.